Mid-17th Century Oak Table with Column Turned Legs - Oak Side Table with Two Drawers

The earliest form of table for dining use was a simple trestle type, usually make of oak, with top of elm. Later, more solid constructions appeared, developing into the draw and refectory tables of the 16th century. The early forms of refectory table had large bulbous carved legs which became more refined as the 17th century wore on. From the end of the 17th century onward one can trace the appearance of profuse types of table, more and more sophisticated and following the prevailing fashions.
Probably one of the most collected forms of antique furniture is the decorative side, dressing, tripod, Pembroke, sofa - in other words occasional - table. Without requiring too much durability to resist continuous use and usually extremely decorative, such tables are understandably sought after. The only exception at present is probably the folding card or tea table of ordinary ‘Chippendale’ mahogany type. These later 18th century tables are somewhat underpriced at present, whether due to the decline in card playing at home or their comparative lack of decoration, it is difficult to say. Certainly the more decorative circular versions fetch good prices: the straightforward square-legged mahogany type are not expensive and when baize lined inside, even less so.
One of the more spectacular rises in price has occurred in walnut, and now oak, dressing tables with three drawers. Small side tables generally appear to be rising rapidly in price.
As far as dining tables are concerned, the gate-leg of any period still deters by having the failing that the gate legs tend to mingle too freely with those of the people seated around it. Centre and double-pedestal tables are items still in the most demand for dining use.
Value Points
The following value points must be taken to be required as common to all the examples illustrated:-
1. Top Surface. The first thing to strike the eye about a table is the condition, patina and figuring of the top surface. The more perfect and decorative the top surface, the more will apply.
2. Structural Condition. We have again assumed this to be good.
3. Legs. Depending on the period the design, and always the proportion, of the legs must constitute an important factor in the assessment of the value of a table. Legs are of course always liable to damage and their originality, with the above points, constitutes a  factor.
An early oak table of refectory type; c. 1700. The large turned legs are connected almost at floor level with heavy stretchers. The main under frame is tenoned into the square tops of the legs and the table top consists of three or four massive oak planks. The main under frame provided a frieze for decoration and was often richly carved. The top was held in position either by under battens or by oak dowels driven through the top into the under frame.
Price Range:  Depending on decoration and size. Larger tables are in the higher range.
Mid-17th century oak table with column turned legs, (sometimes called gunbarrel type). The floor-level stretchers are still evident and the top is made of three thick solid planks. The frieze is quite plain.
Value points: Quality of turning of legs
Mid-17th century oak side table with two drawers in the frieze. Note the panelled shape of thedrawer fronts, reminiscent of chests of drawers of the period. The turned legs and square stretchers are still retained.
A slightly more developed small oak table of the early 17th century. The turned legs are less bulbous than those seen on earlier tables and the frieze provided by the under frame is panelled,to allow for decoration. The fluting of the legs Started to replace the bulb type in late Jacobean times and remained in use until after the Restoration.
Value points: Quality of carving and reeding of legs  Quality of carving of frieze

TABLES  dining, on four legs
A mahogany expanding dining table of a type often thought of as mid- or even late-Victorian but whose legs belie the later dates. Although the constructional form was used later, it originated in the 1830s and 1840s.
These legs are of a bulbous-and-baluster turning with collars, more popular initially in the 1840s than in the 1880s and later, where one might be tempted to place this piece. The examples of 1880-1910 incorporate the top bulb but the lower turning is straighter or tapering, less of baluster form. The piece does highlight the difficulty of dating Victorian furniture, however, since the use of this form of baluster at a later date is always possible.
Another large expanding Victorian mahogany dining table, this time with semicircular ends which can open to receive up to four flaps. The tapering reeded legs are of a design popular in the 1830s, featured by Smee in 1850 and still used in variant form in the 1880s.
An example of the previous type of table, adapted in style to be more ‘Sheraton’ in appearance, with square tapering legs and inlaid stringing lines. Available originally in a size 7ft. long by 4ft. wide. 1890-1915
Four examples of the leg styles available in the late Victorian and Edwardian era. From almost-art-nouveau through ‘oak’ to ‘Queen Anne’.
A mahogany extending dining table which, with its three leaves inserted is 2ft. 6ins. wide by 10ft. long. The top, shown here without leaves is slightly serpentine in shape and has an edge decorated with a blind fret.
The tapering rectangular legs have patera at the top and carved husk decoration. An example of 18th century Georgian designs used on a modern table. 1900-1925
A cabriole leg dining table which can be extended on the ‘draw table’ principle (i.e. by extra leaves under the top), thus combining stylistically ‘Queen Anne’ shaping with a 16th century construction. From Maurice
Adams. c. 1926
A mahogany dining table designed by J. Henry Sellers (18611954), an Arts and Crafts Society architect-designer who tended to produce expensive furniture with Edgar Wood. The top is banded with ebony and, clearly, the ends are detachable in the manner of the 18th century ‘D’ end dining table. Designed en suite with the sideboard shown as 470. c. 1925
Illustrations from The Woodworker magazine of 1928 showing four versions of the popular small draw-extension table used in small houses, with subsequent directions for the do-it-yourself enthusiast on how to construct the piece. Interesting that the lower left version was entitled ‘modern’ in design at that date, even though its square baluster legs and cross stretchers are derived from traditional tables. 1920-1940
The vogue for the medieval led to a tremendous rise in demand for oak furniture of suitably aged appearance from the 1880s onwards. ‘Old oak’ refectory and dining tables might be made up from old pieces (just as
`coffers’ might be made from three-panel carved bed-heads) or simply reproduced new and ‘aged’ by various processes. It was not always the intention to deceive, nor is it so now.
We show a small selection here to show how close some versions came to the original and to advise the reader to be warned; old reproductions of good quality are worth about half the value of the originals.

TABLES  dining, mahogany multi-pedestal
A two pedestal table with column supports and curving legs having a dark inlaid stringing line. The centre leaf is supported by strong metal catches. Note that the tripods are not evenly spaced so that when the flap is taken out they can come together without clashing. c.1790
Similar to the first example but more the type traditionally found with quatrepod bases. Reeding on the feet and the edges of the table suggests the date. An elegant table in a fine dark mahogany, vastly reproduced often with aestheti-cally disastrous results. c. 1790
The limitations of both gateleg and D-end tables are overcome to a large extent by the multi-pedestal dining table which made its appearance in the later Georgian period. The result is that one rarely sees a fake double D-end table but plenty of wrong pedestal tables. What else does one do with heavy tripod tables or broken breakfast tables The only real snag is the favourable leverage which a heavy leaner can exert on the edge when determined to spring the join of pedestal and table top centrally; but then, in one’s own polite circle, no one puts his elbows on the table, do they
Extra leaves may not have been used a great deal, so their colour may be darker. Check that the side moulding matches and that there are no new square pieces let in below near the edges where the hinges used to be when it was a gateleg table, or indeed any other unaccountable screw holes or glue blocks.
An interesting cross-breed between a pedestal type table and a D-end using a gateleg central section for extension. The overall effect is not very coherent. c. 1780
A table which succeeds leaves between its ends. Three high of the period, in which the ‘knee’ at is starting to appear.
c. 1800-1810, in supporting three curving legs typical the top of the curve
The legs have been curled into scrolls that are almost Victorian, but the effect is light and elegant. c.1830
This table is solidly William IV, showing the heavy influence of ‘classical’ design promoted by Thomas Hope and with gadrooned edges as well as leaf carving. It has been fitted with modern multi-directional ball castors for ease of transit.
An example with Regency ‘knee’ developing that is almost a spur on the legs and spirally reeded columns. The table edges are also reeded. c. 1820

TABLES  dining, Georgian extending
The limitations of the gateleg table are obvious; its size cannot be above a certain dimension and the legs get in the way of the diner. The George III D-end table resolved the first problem, although not always the second.
The concept of the D-end table is ingenious enough. The two D-ends, each of four legs, can be put together to form a circular or oval table of convenient small size, even if it thus has eight legs. To extend the table by means of inserting rectangular solid leaves is not too difficult, since the ends are stable and only the extra support leg need be inserted.
More ingenious. The D-ends have between them a rectangular gateleg table which can be closed or progressively opened to provide two D-end tables, which either can be separately set against a wall or used together to make an oval table and, at the same time, a gateleg table. With the two flaps down a slightly longer oval table can be made, which in turn can be progressively increased to the full width shown. A good quality piece with stringing lines and double gates to the drop-leaf table.
Shows two half-circular tables joined together. The legs are reeded overall and fluted for the top one-third, ending in well-shaped blocks. The two inner legs on each half move into the centre to support additional leaves when required. The price will depend on the number that can be seated. c. 1780
Not as good as the previous example and in need of repolishing. Here the four legs of the table are fixed but the single centre leaf is easily supported by them.
A large table which shows the back legs of the D-ends moved out to their support positions when opened. The reeded legs are of late Georgian design and the reeding round the end is typical. A good, solid table. c. 1810
This table operates on the same principle as 755, and has the same double gates to the centre table. The Victorian moulding to the edge of the table
and the multiplicity of reeded legs (though these are more readily accepted than five years ago) do not make this an attractive design.
The square ends of this and the next table are less valued than the round ends of 756. c. 1820s
A design in which a series of telescopic interlinked frames allow the table to be opened and closed while the two centre legs remain in place. Some variations have an inset centre leg; later only two legs at each end remained and these tables often sag to the considerable loss of value. Note the legs are fattening up into the gouty Victorian tables.

TABLES - dining, mahogany gateleg, Chippendale and after
When one considers the revolution in design of chairs associated with the name of Chippendale, it is amazing that he never mentioned dining tables in his trade catalogues. His firm made gatelegs with D-ends among other complicated tables discussed in the next section but, perhaps justifiably, his name must be linked with the low point of eighteenth century dining table design.
A small rectangular mahogany table with standard pad feet. A more modest example of the product in mahogany. Made well into the Chippendale period and so included here.
Shows a good quality example of a large double-gateleg mahogany table with moulded square section legs. Although somewhat severe by earlier standards, it is still a fine piece of dark Cuban wood. Colour very important. c. 1765
What is known as a ‘wakes’ table due to its long thin shape on which, by legend, the coffin was rested before the funeral service and on which, after the interment, the festivities took place. As our social customs no longer work in this manner, it is perhaps odd that they are hugely reproduced and faked. This example shows the figure in the rich dark wood. c. 1770
A much simpler, straightforward George III square-leg rectangular table. It looks very similar to the centregateleg table in the gateleg and two D-ends combination, see next section. It is interesting that this design, with the ends just slightly rounded, was still available from W. Smee & Sons in 1850.
A faithful country copy in burr elm which, as can be seen in 750, can, with good patination, be almost as fine as any wood. Small, so not expensive.
There were, however, some interesting country tables which can be very attractive and two variations are shown below.
Four seater as shown $600-850 However, if eight seater and glorious colour $3,000 4,000
A small square single flap dining table in solid burr elm with very fine patination and superb grain. Top quality veneers were cut from such wood. c. 1765
Slightly out of the mainstream, a corner or, in American, handkerchief table which opens up to form a square. They are rather unbalanced if the wood is heavy because of the weight of the front flap and, perhaps because of this, are not popular unless a lot smaller than this one.
A small George III mahogany spider-leg table, suitable for less important meals like breakfast. They can be extremely elegant and because of this were reproduced extensively in Edwardian times and some can now look convincingly old.

TABLES  dining, mahogany gateleg, shaped foot, 1735-1760
Just as the stretchers disappeared from chairs in the early part of the eighteenth century, so mahogany dining tables rid themselves of stretchers at much the same time. Perhaps it was the strength of mahogany or simply the desire to refine. Whatever the reason, some superb tables emerged. Good quality examples are perhaps current738 (opposite page, top left) Elegant use of the pied-debiche foot from which the cabriole originated, decorated with the ram’s head. The cabriole is beautifully executed. The top pieces, each
of one plank, are without warp or twist. The rule joints are in immaculate condition. Heavy Cuban mahogany at its best.
Another example with pied-de-biche foot and the little projection behind it, but with a simple decoration on the knee and a small scroll either side. The top has the same thumb-nail mould but each flap is made up of two planks. All features which, together with smaller size, reduce the price. c. 1740
Conventional cabrioles with ball-and-claw again. Well executed but looking almost clumsy against 738. In fact by itself an elegant table. A walnut style carried on into mahogany. 1730-1740
Without the panache of 738, but undeniably elegant in dark, almost figureless Cuban or Spanish mahogany. These pieces are enduringly made and, when this book was first written in 1978, were undervalued, but the price has since doubled. Shown both closed and open to make the point that such a table fulfils the dual purpose of elegant side table and comfortable dining table for four to six people. Appears to have glorious patination.
With gently curved cabrioles, which like the previous example have a simple C scroll at the top, this table could be walnut period but is in fact mahogany. The moulding is slightly unusual with only a very shallow depression and a very wide flat curve almost like a Victorian slope. Rectangular flaps are not as popular as oval. c. 1750
The more simple pad foot version on a straight leg of tapering circular section which, in comparison with 741, gives the unfortunate impression that the weight of the flap is proving exhausting. Nevertheless, very English in concept and clearly related to its country cousin in oak.
Quite literally the oak version of 743. Interesting to see the heavy structure beneath as though the maker would have preferred the old oak method. c. 1760

Tripod table

1. Made of heavy, dense mahogany.
2. Carving, dishing, piecrust or scalloping integral with table top, standing proud of the surface.
3. Grain of stem running from top to bottom without a break.
4. Proportions correct: when tilt top is vertical the sweep of the curve should not cut into the baluster, carving or decoration, or leave too much showing.
5. Measurements of top should not be precisely circular - timber shrinks along the grain and circle will be slightly flattened.
6. Never veneered - always in the same solid wood, for the top, stem and feet.
Likely restoration and repair
7. Metal brackets pinning underside of tripod or knees where wood has split and been repaired.
8. Wrong proportions - tops too large or small. The eye can judge better when the top is vertical not horizontal.
9. Line of joined timber at collar at base of stem: block added, into which legs have been fitted.
10. Dishing on top surface without corresponding tapering of outer edge of undersurface suggests later copy or dished out from undecorated table.
11. Grain not running in unbroken line up the shaft indicates stem from another piece of furniture with
additional piece to give extra height.
12. Tripods of dumb waiters, fire-screens, torcheres, teapot’s, suitable posts from four-poster beds, inverted legs of dining tables - all these give an idea of suitable beginnings and replacements for stems and tripods. Many period trays are used for tops.
13. bullish, reddish-coloured walnut, not mahogany -nineteenth-century copy.
14. Lighter-weight mahogany, shallow carving - also nineteenth-century copy.
Historical background
The antecedent of this small table is the candlestand of the sixteenth and seventeenth centuries, standing on three splayed feet. Small tables on central stems and three scrolled feet were made in ‘black’ Virginia walnut from the late seventeenth century onwards, and in the first two decades of the eighteenth century. But the tripod table did not really come into its own until mahogany had become readily available. Its construction demanded a strong, close-grained timber which would not easily split, and which could be cut in a single piece for the table top.
Of all tripod tables the piecrust’ is the best known and has been ceaselessly copied in a recognizable, although emasculated form. Genuine piecrust’ tripod tables are far more massive: the tripod legs are a version of the cabriole leg, with acanthus, scallop or lions mask carving on the knee, which has a pronounced spring. The stem is carved with foliage or cupped leaves around the bulb of the base which rises in a slender, fluted stem. The piecrust’ itself is carved from the solid timber, and the thickness reduced to a minimum beneath the carving so that in outline the top itself is slightly dished.
Construction and materials
These are important little tables in terms of construction, so apparently simple that a great deal of detail must be absorbed to be sure that the piece in question really is genuine.
The base is made in four pieces: the central stem, cut from a single piece of wood, and three separate legs, secured to the base of the stem with a wedge dovetail, the tops of the joints concealed by the swell of the bulb, or by a circular ring-turned boss below the collar of the baluster.
The top is cut in a single piece with the grain running across it from side to side, and the carving of the rim is integral with the original thickness of the top. On the underside of the rim the wood is tapered so that from the side the shape is slightly dished. The tilt-top construction consists of two parallel cross bearers attached to the underside of the table top, which fit on either side of a small square block mounted on top of the stem, with a pivot running through it into the cross bearers on either
side. The top is secured by a brass spring catch to hold it firmly in place when horizontal. On very early, rare tripod tables, the tops were fixed to the stems with a central threaded wooden collar secured to the underside of the top into which the stem was screwed. Revolving tilt tops were mounted on a ‘bird cage’ gallery, rare to find intact. The top of the stem was enclosed in an open box with wooden columns to all four sides, which revolved, and which fitted neatly into the two parallel cross bearers mounted on the underside of the table, and locked into position.
Detail
Plain-topped or dished tops were mounted on plain baluster stems, sometimes with spiral decoration, with pad feet, or scrolled feet on flat ’shoes’ to give stability. The knees of the legs should be high to give the tripod base a good grip. From c.1780 the legs are flattened into soft S-curves, more spread-eagled and sprawling.
Variations
Period country versions were made in fruitwood, yew wood and in mixed woods with oak tops. The construction of the base demanded a close-grained wood which would not split on the dovetail joints of stem and feet, and oak was not suitable.
Sometimes walnut was used, but rarely.
If fruitwood and yew wood were used the tops were often of more than one piece owing to the lack of girth of the trees. Simple column turning and baluster turning to stems were characteristic as are plain pad feet on a small rectangular ’shoe’. Rims were undecorated, with no carving on knees of tripod legs. Tops were larger than mahogany versions -tilt tops were used for more practical purposes in the country and small tops were less useful.
Right: mahogany syllabub or supper table, a Chippendale design which was revived in the nineteenth century.
Right: nineteenth-century reproduction with typical sprawling cabriole legs and weak ball-and-claw feet.
Reproductions
Nineteenth century
Although the tripod is often called ‘pillar-and-claw’ this is a variation, with flattened curve and flowing unbroken line from tripod base to stem, and denotes a characteristic Regency design of the ‘Sheraton’ peri
legs were often reed later, curved above the central boss of the stem. Inlaid brass decoration and stringing exaggerated the form of these upward-curving legs, which were joined to a square plinth base from which the stem rose. The tops of these tables were often square or octagonal.
The monopodium pedestal also traces its origins from the tripod base and characterizes a wide variety of Victorian tilt-top tables, usually larger than the eighteenth century tripod table. It is to be hoped that the foregoing points of construction, authenticity, restoration and faking will guide the buyer quickly away from any of the countless reproduction ‘piecrust’ tables to be found in any department store or general furnishing store. Apart from anything else, the lightest push will tip them over.
Price bands
Eighteenth-century piecrust, £2,500-3,500.
Eighteenth century, with bird cage, £3,000-4,000.
Chippendale-style supper table, £500-850.
Nineteenth-century reproductions, £.200–350.

Queen Anne drop-leaf table

Although popularly known as `Queen Anne’, the drop-leaf table did not really come into widespread use until mahogany
Signs of authenticity
1. Heavy weight of mahogany –San Domingo or Cuban.
2. Grain of flaps and central fixed top all running parallel to joins.
3. Each piece of table top cut from a single piece of timber.
4. Underframe of thick solid timbers of oak or close-grained red pine.
5. Scrape marks on under
surface where gate has been opened and closed.
6. No screw holes or bore holes of any description on any part of undersurface.
7. Patination under flaps and on sides of gates where they have been constantly handled.
8. Thickness of timber would be a minimum of 1 in.
9. Flaps correctly proportioned to legs when not raised.
10. Wooden hinges with three `knuckles’.
11. Rule joints and hinges with thumb-moulding continuing round full circumference of top.
12. Circular tables seating four until c.1740, then squared table tops as well as circular.
13. Correct height – 2 ft 4 in for dining tables.
Likely restoration and repair
14. Legs broken and replaced, particularly on gates. Grain either running right across from underframe or breaking on a line with bottom of underframe where replacement has been pegged in.
15. Gates broken on hinges and repaired with white pine,
stained.
16. Flaps split, cracked from weight of wood on hinge.
Repaired but weakened. A break in grain, thick streak of fake patination will indicate plugged crack.
17. Replaced flaps with slight difference in thickness, duller patina and signs of old screw holes on undersurface, or new hinges with machine-turned screws.
became available, after the end of Queen Anne’s reign. The earliest drop-leaf tables were also made of Virginia walnut from c.1720 onwards, when supplies of good French walnut ceased. The curving cabriolelike leg, terminating in pad feet or a more elaborate ball-andclaw foot, is distinctive of the period generally known as Queen Anne, but the style continued well into the reign of George i. Not until then were dining habits adapted to the Continental style, with all the diners seated round a large table, with matching chairs, dinner service and glasses. Until then the English custom of serving food from a long buffet-style table was prevalent and smaller dining tables were mainly in use in the morning room and parlour for occasional
meals such as breakfast when small numbers of the household sat down at different times. The drop-leaf table was a more sophisticated version of the gate-leg table, with four legs only, two of which hinged out to support the flaps on either side. Drop-leaf tables were circular at first, but from c.1740 square flaps became more popular, because they could accommodate more people in comfort.
Tables for eating off were made in solid wood and were not veneered because of the damage that might be caused by spillages or hot dishes. The advantage of mahogany was that it was immensely dense and strong, did not warp or bend and, unlike walnut, was impervious to worm.
Construction and materials
The technique of making chests and chests of drawers with a carcase of different woods spread to table making, and the drop leaf table is among the earliest to have an underframe of oak or close-grained red pine, with the main parts of solid mahogany or Virginia walnut. A few very fine tables were also made in English walnut, but they are rare to find. As with the gate-leg table, the legs continue up in one piece to the underside of the top, whether on the hinged or fixed leg. The gates of drop-leaf tables formed part of the underframe construction and had wooden or brass hinges with three ‘knuckles’.
Most drop-leaf tables were never very large, and at most seat six on later, square shapes, and four on circular tables of the earlier period. There are conflicting dates for the first general use of mahogany, but as a rough guide it can be said that except for isolated and exceptional
Variations
Period country versions were made in oak, or elm, or oak and elm with stretchered frame and gates, as simplified drop leaf tables. The balance of a genuine four-legged drop-leaf table is hard to achieve, and some drop-leaf country versions are found with half-legs folding against each other when the flaps are down, opening to a six-legged table when raised, but few of these have survived.
Simple column turning persisted in oak on legs of Georgian drop-leaf tables, plain chamfered legs being the later period alternative. Good country versions follow the rules of mahogany drop-leaf tables: the grain runs parallel to joins which cases, it was not used for furniture before 1730-35. From that date until the 1750s, when duties and taxes were lifted, mahogany was imported in ballast, and its quality varies considerably, although most furniture-makers preferred to use the best, fine-grained, dense San Domingo or Cuban timber.
Detail
Brass rule hinges set close to the edge of the table, secured with round-ended hand-turned screws, were countersunk into the underside of the fixed top and flap, which had a rule join, with the moulding continuing round the full circumference of the table. Legs were high-curving, virtually cabriole, with plain pad feet or hoofed feet are thumb-moulded, hinges set well in, approximately over legs when flap is down, but the grain of underframe is vertical for strength; dowelling persisted long after it was replaced with screws in mahogany versions. Traditional methods of construction were used for country pieces long after they had been superseded by improved techniques.
Below left: George II provincial drop leaf in oak, with pad feet, it has slightly wider fixed table top than mahogany versions.
Below right: late seventeenth-, early eighteenth-century country version.
Reproductions
Nineteenth century
Plain rectangular square-legged drop-leaf small dining tables were manufactured from c.1840 onwards in light-weight African mahogany, cheap Honduras mahogany or baywood. They usually have deeper flaps, falling quite close to the floor. The construction of early drop leafs is difficult to reproduce and has a limited market in commercial terms.
Later versions of simplified gate-legged tables have been made continuously through to this century, as general purpose tables for domestic households, hotels and public buildings, and as dining tables for the average home. Poor-quality materials, machine-cut timbers, coarse-grained pine underframes and lack of craftsmanship in detail and proportion indicate mass-manufacture.
Price bands
Fine quality mahogany, $1,500-1,800.
Country version in oak, £800-1,200.
Gate-leg version in oak, £750-1,000.
Fruitwood (flaps in two pieces), £1,000-1,250.
c.1800, reeded leg, £650-1,800. Early nineteenth-century plain mahogany, 1300-500.
Below: late eighteenth-century drop leaf, c.1800.

Late XVIII Century Tables

18th Century tables, although not described as such in Chippendale’s Director, were a new type of table. During the first half of the 18th century, people tended to sit at small tables to eat, arranged in groups in a dedicated eating room.
Around the 1750s, people began to eat at longer tables. Quite often, these consisted of a central, rectangular gateleg table to which two D-ends were joined to make one long piece. When not assembled as such, the D-ends might be used as pier tables.
For the most part, these dining tables were plain, with either square or tapering legs. This began to change from around 1780, when tables were often supported by pedestals.
Early examples of dining tables, such as those supplied by Chippendale in 1770, had half-round ends and deep, rectangular drop leaves. These were supported, when raised, on gate legs and secured using stirrup clips.
Table legs were influenced by Neoclassical style and became more slender and tapering in shape as the century progressed.
As the passion for games and gambling now pervaded every level of society, large numbers of games tables
were made, particularly in England and the American colonies, and these gained popularity in Europe towards the end of the century.
Many games tables had a top that folded back to reveal a baize-lined surface or an inlaid games board, and one or two legs that swung back to support the open top. When not in use, the table would usually be stored
against the wall, so the side facing the wall was generally left undecorated.
Pembroke tables were multi-purpose, and could be used for dining, games, or as worktables, depending on the occasion. Being small and on casters, they could be moved around a room as required.
Like other occasional tables, Pembroke tables were usually highly decorative. Those made of satinwood or mahogany were often inlaid with Neoclassical designs, although painted decoration was also popular.
Marquetry remained fashionable throughout the period.
Dressing tables were often designed like deep tables with drawers. These usually featured ingenious mechanical fittings such as dressing mirrors that rose and fell in slots.
The escutcheons and handles are made of brass.
Carved acanthus adorns the knees of the table.
ENGLISH GAMES TABLE
Made from mahogany, this games table has a rectangular top that folds back to reveal a baize-lined playing surface. The concave corners hold counters.
c.1760.
The protruding, square corners are also functional, as their concave insides hold counters.
Metal hinges hold the two top sections together.
The rear legs do not have claw-and-ball feet. as the table was not designed to be seen from all sides.
ENGLISH CARD TABLE
This mahogany, D-shaped card table has a fold-over top and baize-lined interior. It is veneered with satinwood banding, with ebony and boxwood string inlay. c.1785.
ENGLISH PEMBROKE TABLE
This small mahogany table is intricately inlaid with various woods, including harewood, a veneer from the sycamore tree that is stained to produce a brown-green colour similar to khaki. c.1780.
SCANDINAVIAN TABLES
ade of satin birchwood, each table has a demi-lune top placed at an angle on a frae above three square-section, tapered legs. The D-shape or demi lunge is often associated with card tables that were designed to be placed
against a wall when not in use. However, these tables are more likely to have been used as side tables because they are too tall to sit at. c.1790. W87cm(34%in). L&T 3
SWEDISH PIER TABLE
This table is made of painted and gilded softwood, with a faux-marble top and plinth. Gilt balls top each turned, tapered leg, below which are carved and gilded acanthus leaves and gilt supports.
FRENCH TABLE
Made of mahogany, this rectangular table has a single frieze drawer. The square, tapering legs have brass terminals and casters, which allowed the occasional table to be moved easily. c.1785.
ENGLISH FOLD-OVER TEA TABLE
This mahogany tea table is made in the French Hepplewhite style. The serpentine top has a moulded edge and rests on a serpentine frieze, which is raised on cabriole legs. The legs are carved at the top of the knees
with stylized anthemia. c.1770.
ITALIAN PIER TABLE
This imposing table has a rectangular faux-marble top. The frame is painted and decorated with applied gilt scrolls and rosettes. The circular, tapered legs are also painted. Gilding is applied to the concave sections of
the stop-fluted legs. c. 1780.
ENGLISH DRUM TABLE
This table has an inset-leather surface, four frieze drawers, one of which is fitted with an adjustable writing slope, and four dummy drawers. The table revolves on a turned central column, which is set above four inlaid sabre legs with brass lion’s paw casters. c.1800.
DUTCH OCCASIONAL TABLE
The top of this demilune-shaped piece is decorated with an inlaid urn surrounded by crossbanding. Tambour doors slide sideways to open. It stands on three square-section, tapering legs decorated with boxwood and ebony stringing. c.1790.
FRENCH DROP-LEAF DINING TABLE
This Cuban mahogany table has a rounded, rectangular top with two D-shaped leaves. It has a plain frieze and six squared, tapered legs with brass caps and casters. The legs move out to support the open leaves and
additional leaves. Signed Jean-Antoine Brunel. c.1795.
SWEDISH CARD TABLE
This demi-lune-shaped table has a frieze and squared legs. It is very similar to an English card table, apart from the two legs, which are awkwardly bunched together. One of them swings back to support the top when opened. c.1780.
ENGLISH OVAL TABLE
This is one of a pair of French-style tables decorated with marquetry and parquetry. The oval top has a central panel with an inlaid spray of flowers and ribbons and the frieze has a floral inlay. The table has capriole legs. c.1785.
ENGLISH PIER TABLE
The top of this demi-line table is inlaid with satinwood, rosewood, ebony, and boxwood. The marquetry features a fan, echoing the shape of the table. Inlaid paterae are inserted at the tops of the square, tapering legs, which terminate in spade feet. c.1790.
SWISS GAMES TABLE
This walnut and cherrywood table has a heavy, hinged, fold-over top, with rounded corners and a brown, gilt-leather inner surface. The shaped table skirt is carved and the capriole legs are carved at the knees and
tips. The rear leg swings back to support the open top. c.1780.